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Solomon George FitzHerbert

In both eastern Tibet and in Mongolia, the Buddhist cult surrounding the figure of Ling Gesar (Gling ge sar) or Geser Khan in Mongolian versions is an outgrowth of Gesar’s standing as the ...
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In both eastern Tibet and in Mongolia, the Buddhist cult surrounding the figure of Ling Gesar (Gling ge sar) or Geser Khan in Mongolian versions is an outgrowth of Gesar’s standing as the eponymous hero of an elaborate oral epic tradition. Today, the epic and the Buddhist cult exist side by side in a relationship of symbiosis. Gesar’s sanctification as an enlightened being—as the combined manifestation of the Three Bodhisattva Lords and as an “emissary” or “manifestation” of Padmasambhava—whose tricksterism is enacted on behalf of the forces of goodness, justice, and the White Side in its perennial battle against the forces of evil, injustice, and the Dark Side—is both an outgrowth but also a source of nourishment for the epic tradition as it has continued to adapt and develop up to our own times.

The Gesar/Geser epic, in all the three main regions in which it survives (eastern Tibet and its neighboring regions, the Mongolic regions as far west as Kalmykia, and Ladakh and neighboring regions), is a living and mobile tradition of oral recitation and improvisation. The available textual corpus of this epic is very large, though none of it is very old (the oldest available epic texts in Tibetan are from the 17th century and in Mongolian are from 18th century). Thanks in part to sustained state patronage in the PRC, there are now over 200 published volumes of non-duplicating Gesar epic narrative and song, mostly from eastern Tibet. A lot of this material is of a directly oral provenance. Many modern volumes are the direct transcriptions (with some editing) of the oral repertoires of contemporary bards, some of which have been very lengthy. To take one example, the recorded repertoire of the bard Samdrup (Bsam grub) (1922–2011) was over 3,000 hours long, much of which has now been published. As for literary versions, the authors of Gesar epic texts often make explicit the debt that their tellings owe to oral renditions that they have heard. The mid-18th-century author of the famous Horling Yülgyé (Hor gling g.yul ’gyed), for example, mentions that he based his telling on the oral repertoires of “some twenty bards,” several of whom he cites by name. Due to the heterogeneity and sheer volume of this available textual corpus, it is hard to make categorical assertions about the relationship between Buddhism and the epic tradition, since that relationship varies from version to version. However, some general observations may be offered. In the ritual cult devoted to Gesar that evolved from the epic tradition, matters are somewhat clearer. In the ritual texts devoted to Gesar—which are mostly offering texts—the unruly polyphony of the epic (many bards, many characters, many perspectives) is replaced with a neater integrated vision, in which the hero is praised as a totalizing culture hero and enlightened lord—a hero in every register, both worldly and spiritual, both chivalric and shamanistic.